Whatever its source, we find the photograph serving the purposes of the architect again, in 1929. Note that the carefully-
composed fence is largely deleted, to reveal more of the building. Something of the composition is lost . . .
I have labeled this image "LarkinKlumb" in my file, but in fact it was drawn by Takehiko Okami, one of the architects/drafters present at the Ocotillo
Camp. On a winter day in 1929 at the Taliesin North studio (according to Klumb, quoted in Tafel's "About Wright," pp 99-102) the men were chewing
over the fact that Wright wasn't getting through to the International Style boys, and what could be done about it. Klumb suggested that Wright's
"delicate renderings" could be "reduced . . to two-dimensional black on white presentations that modern architects were addicted to. His answer:
"DO IT." Okumi and I went to work and produced several, including the Robie House (drawn by myself), the Winslow House, Yahara Boat Club,
Bock Atelier, Unity Temple, and the Larkin Building. All were drawn in ink on roll-up window shades. The result was that even the stark graphic black
on white surface presentations did not produce a two-dimensional effect; rather they emphasized the depth of his poetry and the power of the third
dimension. Nothing that international architecture had to show could equal it."